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Any Dream Will Do with RML

With the success of last year’s How Do You Solve a Problem Like Maria? the BBC were back this year with ‘Any Dream Will Do’, to find a new Joseph for Lord Andrew Lloyd Webber’s musical, ‘Joseph and the Amazing Technicolour Dreamcoat’.

Once the first three audition stages were complete the live Saturday night performances began. Back for a second year, along with Lord Andrew Lloyd Webber, was presenter Graham Norton along with a few of the favourite judges.

Lighting director Mark Kenyon was also back for his second year with this successful format. Providing the lighting rig were Richard Martin Lighting and Finelight.

The rig consisted of 16 VL1000TSs, 84 LED Parcans, 540 Chroma Strips, 48 300mm Strips, 500m2 Chroma-Q Color Web panels, 16 Stage Colour 300s, 24 Studio Colours, 14 Studio Spots, 46 VL2500s, six 1.2Kw Moving High Grounds, two 2kw Moving High Grounds, eight Atomic strobes and an MDG Atmosphere.

The six 1200w Moving High Grounds were hung, and as each light weighs a respectable 85kg it was a weekly challenge but the results made it more than worth it.

“I wanted to try and reflect what is often used in concerts, to achieve the look of a Syncrolite, which was expected for a show the size of Jospeh. The Moving High Grounds were able to give us these striking and powerful looks,” said Mark Kenyon.

Color Web plays a huge part in achieving the final look of the lighting rig. Covering an impressive half a square kilometre, the Web has a 105m wrap around the entire studio with a varying 2m, 4m and 6m drops.

“The Color Web Offers good value for money and is accepted on a large scale. It also allows more depth and variation compared to some other lights,” explained Mark Kenyon.

A total number of 500 panels of Colour Web were used on the rig. The Web was made to spec in the RML warehouse for the predetermined drops that Kenyon had already specified.

The rest of the LED lighting was built into and around the main stage area, with 900mm and 300mm Chroma Strips under the perspex walkways and on the edges. The staircases, both in the middle and to the sides, were also edged with over 200 iCove QLs. RML’s custom made LED Parcans were hung across four 80 ft trusses, above the main stage and on the audience balcony.

The entire 10-week run of the show was operated by Will Charles on generics and Roger Williams programming the automated and LED rig as well as screens and Color Web. It was operated from a Vector Green with a Vector Wing and another Vector Green in place as live back up. The automated and LED rig went across eight streams of DMX distributed by Ethernet E-Port boxes.

Kenyon specified two Catalyst systems. One to control the three LED video walls and the other to control the Color Web, which then fed 14 Artnet boxes to distribute over 50 streams of DMX to the Web.

The show was supported by RML and Finelight technicians Pauly Bellman, Dan Neagle, Shaun Burnett, James Smith, Mark Newell and James Tinsley.

photos: Phill Dent

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Any Dream Will Do with RML

23rd July 2007

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